Shure SM57 Dynamic Instrument Microphone

Producer Vance Powell - “On Blunderbuss I also used the Neve 33609 and RCA BA6A and an Ampex MX35 four–channel tube mixer to record the drums, but these sessions happened so quickly that I did not have a lot of time to set things up. There was not a lot of upright bass this time, but when there was one, I’d use an RCA 44 and something higher up like the RCA BK5A [cardioid ribbon mic]. There was an African drum on ‘Would You Fight For My Love?’, which had an AEA R92, electric bass would have been DI and a Neumann U67 on the amp, with maybe some compression from the [Fairchild] 670. I recorded Jack’s acoustic guitar with an RCA 77DX, and his electric almost always goes through his 1963 Fender Vibroverb in front of which I placed a U67, which went into the Neve 1073 desk and then straight to tape. I did not record any of Jack’s vocals, other than on the song ‘Just One Drink’ because that was done entirely live. I used a Shure SM57 or 58 on his vocals for that, and Josh recorded the backing vocals.”

Asked about any tricks to recording natural guitar sounds, guitarist Dave Grohl replied, "As far as micing the amps, we used a Shure SM57. That's usually the mic they use on the amps when you play live, so why not use it in the studio as well?"

Used for the electric guitar on *Continuum*, as stated by recording engineer Chad Franscoviak in this October 1, 2006 *Mix Online* interview. > Miking Mayer's guitar rig depended on the song's mood. On “The Heart of Life,” Franscoviak threw a ribbon mic in the middle of the main room as a pair of amplifiers boosted Mayer's tracks. On the majority of the tracks, though, Franscoviak would put a Shure SM57 and a Beyerdynamic M88 right next to each other, about two fingers' width from the guitar cabinet's grille. He would take that track, blend it and send it to one channel. In addition, Mayer likes to hear room ambience on his guitar tracks. To accomplish that, Franscoviak would point either a pair of U67s or U87s about three feet from the edge of the semi-circle of amps, and then either a U47 or a Telefunken 251 in front of them all. > “Then, every once in a while, if he wanted a beefy sound, I would use a [Yamaha] NS10 speaker that had been reversed,” Franscoviak says. “I would put that right up on the cone of one of his cabinets to get that real low-end thing.” The best example of that, he adds, is the solo in “I'm Gonna Find Another You.” Mayer's acoustic guitar chain was an AKG C24 microphone into 1073s.

This mic is used by Slash with his Talkbox, at 0:11

"What microphones did you use to record your guitars? I use a Shure SM57 positioned on axis a couple of inches from the cone. On some tracks the engineer, Ryan Hewitt, added a Royer R-121 ribbon mic, positioned about 15 feet away, in order to capture some of the room sound. We used a Telefunken Ela M 250 tube condenser mic on the acoustic guitars."

"He also used a Fender Bassman on about four songs and a Vox AC30 for some clean tracks. Four microphones were used to mic Kurt's speaker cabinet (he would pick which mic he liked best for each song and its signal was sent through the Neve console at Sound City): a Shure SM57, an AKG 414, a Neumann U87, and occasionally a Sennheiser 421. His main effects were the DS-1 Distortion and Small Clone. A ProCo Rat distortion pedal was also used on some songs on the album (6)."

In "Pulse" 1994, WEM and Marshall speaker cabinets are mic’ed with Shure SM57 and Neumann U-87 microphones.

The SM57 was used to record the top of the snare drum for Daft Punk's Random Access Memories album, as well as being one of the three mics used to record the guitar cab.

The Shure SM57 Instrument/Vocal microphone is used to mic the Selmer Zodiac Twin 30 Amplifier that lead guitarist Alex Turner uses for his performances with the Arctic Monkeys.

This mic was used for snares on Eagles of Death Metal's album Death by Sexy, according to Shure's official website.

Matt uses this to record on the 2nd law

Kevin mentions using SM57s for recording kicks, snares, and his guitar amps, in this interview.

Here James is using a Shure SM57 during the Presidio sessions in 2001

Thom Yorke can be seen using a Shure SM57 in this photo.

Can be seen micing the Fender Tweed Harvard Amp. Original article from October 2009 [here](https://www.musicradar.com/news/guitars/u2-exclusive-the-edges-stage-setup-revealed-223342).

"We got a pair of 57s, one on each cabinet," says John Petrucci's guitar tech.

On this article about Mike Kerr, we can see Mike uses a Shure SM-57 and an Audio Technica 4060 in front of his Amps

Used on *Professor Satchafunkilus and the Musterion of Rock*, among other recordings and live performances. > And what about those famous guitars, which included Ibanez JS1200, JS1000 and JS2PRM electrics (his signature line), a Bruce Sexauer FT-14 acoustic and a 1948 Martin 000-21? For the demo recordings, Satriani used either a Palmer or Marshall SE100 speaker simulator paired with one of his many guitar amps, including those from his signature Peavey JSX Series. In the studio, he played into either a CAD D189 or an SM57. For clean guitar parts and acoustic guitar, he used a KM54.

[This article on the making of Marr's 2018 *Call the Comet* album by MixOnline.com](https://www.mixonline.com/recording/johnny-marr-finds-his-voice-on-call-the-comet) touches on some of the gear used during the recording process. "The core idea behind the recording was to have it be close to what the band does live. The band records together in the live room quite a bit, although not always. For Marr’s guitars, Doviak places a Shure SM57 and AKG C414 in 60/40 blend up to the amp grille through the Neve 1081s with very little EQ, just a touch of brightness and bite to the SM57 and scooping out of muddiness. This gives an accurate representation of what you would hear standing in front of Marr’s amp at a show. " (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

"John Lennon – recorded most of his studio vocals on an SM57"

visible in wikipedia

josh use the shure for his amps.

Mix engineer Tommaso Colliva on recording Drones : “The mics on the bass cabs were a Neumann FET 47 with a [Shure] SM57, Beyerdynamic M88 or Electro–Voice RE20 on the clean amp, and the same on the distorted amps, but we also tried the Shure SM57 or Sennheiser 421 on the latter.”

One of the coments on Instagram foobag - the 57 is industry standard for a reason - gives the sound we all know so well because it’s always the mic’ of choice live!!!

This rig diagram from 2003 shows this mic used in front of the cabinets.

Used during this live performance, around minute 11:08

He uses this mic at the old tour with Soundgarden.

Listed under Mustaine's gear. Used for miking cabs.

In this [interview from the April 2000 issue of *Guitar World* magazine](https://web.archive.org/web/20040213203727/http://archive.guitarplayer.com/archive/artists/thecure.shtml), Robert explains how he used the SM57 for both guitar and vocals on the *Bloodflowers* album.

Mic used on Josh's set

Used for vocals on *Because of the Times*, as stated in this June 1, 2007 *Mix Online* interview. > Caleb Followill sang into a Shure SM57. An SM57 was also used for the electric guitar and vocals on *Only by the Night*, as mentioned producer Jacquire King in [this December 2008 *Sound on Sound* interview](https://www.soundonsound.com/techniques/inside-track-kings-leon-sex-fire). > "We had five or six guitar amplifiers available for each guitar, and again, we picked the ones that were most appropriate for the song. Angelo and I would listen to the guitar parts and mix and match amplifiers. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. The guitars went through API mic pres, an API 550A EQ, and I also used some APSI parametric EQs. Occasionally I'd put an 1176 in the signal chain, but in general I don't use much compression on distorted electric guitars going to tape, because there's not a lot of dynamic range to them as it is. The synth–like reverb you can hear on the guitar was done at Blackbird on an Eventide DSP4000 and added during the transfer to Pro Tools. Caleb's vocals were recorded with a Shure SM57 going through a Chandler TG2 mic pre, a Neve 1073 EQ, an LA2A compressor, and I also had a Dbx 902 de–esser on them."

On this picture, we can see Lemmy singing through a Shure SM57

you can see this microphone in this video.

At 2:29 we can see that Rob's playing the [Matchless Avalon](https://equipboard.com/items/matchless-avalon-30-amp) through a Shure SM57 Instrument/Vocal Mic during this #product-demo.

You can see that Microphone at 0:07

"Premier brand Toms. Used on, on live performances of There There, where Ed, Jonny, and Phil all play drums. The pair of toms is mic’d with a single wireless Shure SM57."

Used for the electric guitar on *Only by the Night*, as stated by producer Jacquire King in this December 2008 *Sound on Sound* interview. > "We had five or six guitar amplifiers available for each guitar, and again, we picked the ones that were most appropriate for the song. Angelo and I would listen to the guitar parts and mix and match amplifiers. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. The guitars went through API mic pres, an API 550A EQ, and I also used some APSI parametric EQs. Occasionally I'd put an 1176 in the signal chain, but in general I don't use much compression on distorted electric guitars going to tape, because there's not a lot of dynamic range to them as it is. The synth–like reverb you can hear on the guitar was done at Blackbird on an Eventide DSP4000 and added during the transfer to Pro Tools."

In [this article](http://www.guitarworld.com/neil-young-ragged-glory?page=0,1), it states, "Cragg uses a combination of Sennheiser 409 and Shure SM57 microphones on the amps."

"I use a Shure SM57 for demos, and if I'd like a really crisp vocal sound I like to use an AKG C-1000. But my favorite is the SM57 - beautiful design inside and out. It allows close mic placing and picks up vocals better."

> "**GC:** What's your mic-ing set-up? Do you use one mic? > > **Mascis:** [Producer] John Agnello used a Shure SM57, Sennheiser MD-421 and a Shure SM87 on one track, just bound together. They're all close, all right on line." Mascis has also used (and still uses) an SM57 as a vocal mic, particularly during the recording of Dinosaur Jr's *Farm* (as seen in [this episode of Pitchfork's *In The Studio*](https://youtu.be/TYDIH_H43yE?t=4m31s)) and in [this live performance](https://youtu.be/_yXFIWCNELY?t=1m14s) of Dinosaur Jr's "Sludgefeast".

"Justin Vernon spent a winter in his family’s hunting cabin in the woods of Wisconsin tracking and layering guitars, vocals and horns with his SM57." as it is mentioned in the article.

[In this documentary about Eno](https://www.youtube.com/watch?v=CPOz5-rcIeA), we can see a 57 laying on his studio desk in the foreground on the left at the [2:33 mark](https://youtu.be/CPOz5-rcIeA?t=153).

Owl City's studio has three of these microphones.

At 3:30-3:33 Damon and Coxon can be seen using the mic.

In this official video for "Room at the Top," Tom is singing through an SM57. The SM57 is also mentioned in [this March 1983 *Musician* article](https://www.thepettyarchives.com/archives/magazines/1980s/1983-03-musician) about Tom Petty and the Heartbreaks. > They all use Shure SM57s, are mixed through a Davey Bryson console and are heard through Jensen Bulldogs.

used to mic up amp on self titled album. source from sylvia massy's (System of a Down producer) official website: http://www.sylviamassy.com/how-to/

In this video, Tosin explains that he uses a Friedman 4x12 cabinet for live performances, mic'd up with a Shure SM57.

Used on the electric guitar for *Toto XIV*, as mentioned by producer CJ Vanston in this March 5, 2015 *Mix Online* article. > The main mic preamp throughout was a Universal 6176, used for most of the vocals. “Either with a 47 or an Audio-Technica 5040,” Vanston says. “We used a Schoeps on some of the acoustic guitar tracks and also the Shure KSM44—that sounds fantastic. Then we used a 57 for the electric guitar. If Steve Lukather is happy with his guitar sound, I’m happy with it. And I have two Neve 1073s that we used a lot on the keyboards. I’ve got a Neve 8801, which is a great preamp that I like.”

Used on guitar and organ for the *Take Me to Church* EP, as stated by mix engineer Rob Kirwan in this March 2015 *Sound on Sound* interview. > “Guitars I generally record using an SM57 and a Sontronics Delta. The former will go through a ‘lunchbox’ Neve 1073 copy, and the latter through an API 3124+. I’ll compress that with the ADL 100 and an LA2A. The Delta is a ribbon mic, and I use it a lot. I like Sontronics’ ribbon microphones. They give you that ribbon sound, but the problem with a lot of traditional ribbon mics is that the gain is so low that you end up bringing up a lot of noise to get them to speak. I don’t think it is worth it, whereas the Sontronics microphones require phantom power to start off with, which is pretty wild, and they are loud. They really complement the 57. The Delta mic gives the guitar lovely warmth and big bottom end, and the 57 picks up the edgy stuff in the middle. I use those two microphones on pretty much every guitar amplifier that I record."

In this video, Marty's ENGL 4x12 cabinet was shown to be mic'd up with a Shure SM57.

Used on the electric guitar for *Sleep Through the Static*, as stated by mix engineer Robert Carranza in this May 2008 *Sound on Sound* interview. > "Electric guitars were also pretty straightforward, with an SM57 on the amp. The acoustic guitar was usually a Gibson J45, sometimes a Cole Clark, recorded with an AKG C451. I'd screened off the acoustic guitar so it didn't bleed as much. Some songs started off acoustically, and Jack would say 'There's too much bleed on the mic, let's try an electric,' and all of a sudden the vibe of the song changed. We simply went with it. 'If I Had Eyes' was one of those songs."

Featured in this page from the fansite JohnBonham.co.uk. > According to Jeff Ocheltree (Bonham's drum tech in 1977 & 1979), the Showco concert-sound company used Shure Professional Series SM57 microphones to mic up everything from the timpani, to the bass drum (one mic at the front side, and another placed near the beater on the back). The Vistalite and stainless steel drum kits were also miked-up using this mic. > Many more details can be found in Welch & Nicholls' amazing book - '[*John Bonham: A Thunder Of Drums*](http://johnbonham.co.uk/store/books.html)' Which you really ought to own!

At 1:17 into the video, Tocadisco's Vox AC30 is mic'ed with a Shure SM57.

throughout the whole set Ben usese the SM57 as a Effect-Mic. e.g. 33:55

In this video Mateus is using the Shure SM57 Instrument/Vocal Microphone to record his guitar.

at 0:16 of the Helena music video, Gerard is seen singing into a Shure SM57

In this preformance of "Nonagon Infinity " in his entirety, the band is using the Shure SM57 for Vocals and Harmonica.

[This article](http://tascam.com/news/display/226/), by Tascam, includes words from Bruce's mix engineer, Toby Scott, who says that they used Shure SM57 microphones.

Noah 40 uses a SM57 on drake vocals on the control room

Pete Rock is DJing using a SM57 at a show

Used on the Batter side of his snare

"Generally we have three microphones on each cab—either a Shure SM57 or Heill PR 30 next to a Sennheiser 421, and then either a ribbon mic like a Royer R-121 ribbon or a Neumann FET47, to capture a fullness of sound." - excerpt from Premier Guitar interview.

According to Shure's artist page, Brad Paisley uses Shure's SM57 for his guitar, snare, and pedal.

In this video we can see the SM57 on Stu voice, replacing his classic EV-635. They probably made a change of microphones, because we can see the SM57 in the voices and the EV-635 in the drums hi-hat. At 8:41 we can see de EV-635 on the hi-hat.

Lou Reed - Concert 84 - Capitol Theatre

The Style Council ?– Live At Full House Rock Show (1987) Carl Isovic Published on Apr 10, 2017 The Style Council at a live concert at "Capitol" in Hanover on 12 March 1987 (Live At Full House Rock Show) Minute 1:55

Auctioned off on Gotta Have Rock and Roll's website on October 16, 2010. > Elvis Presley owned and used this Shure SM-57 microphone many times during the years 1972 and 1973 and appears on the cover of his RCA album “Good Times.” Elvis’ name is engraved on the neck of the microphone. According to Elvis’ close friend Charlie Hodge Elvis often had his name engraved on the microphones that he lied and that he didn’t want anyone else using. Elvis used various microphones over the course of his career and kept many at Graceland, his California homes and at his home in Palm Springs. One of Charlie Hodge’s jobs besides helping Elvis on stage with his music was to vocalize with him every day. This microphone comes with a letter from Charlie Hodge and several color photographs showing Elvis using this microphone. Estimate: 10000-15000

this is probably WAY off, but here you go

Show in CZ (17.2.2018)

In [this article](http://www.soundonsound.com/sos/jan11/articles/it-0111.htm) Yvan Bing, sound engineer on Phil Collins' album, Going Back, says, "For most of the recordings, I had a Beyerdynamic M88 on the kick, a Shure SM57 on the snare top and a Sennheiser MD441 on the bottom, another M88 on the low tom, a Neumann U47 for mono ambience and one Neumann U89 as a mono overhead."

A FOH stage hand sent out a couple pictures of Chris Stapleton's live rig on May 27, 2016 in Simpsonville, SC at the Charter Spectrum Amphitheatre. The stage setup clearly matches the setup seen in various videos around the web from early-2016 shows. Shure SM57's are seen clearly in front of both of his amps.

Mentioned by recording engineer Richard Dodd in this *Sound on Sound* interview about the recording of "Learning to Fly". > "One of the amplifiers Mike was using was an open-back Ampeg, and I had a Shure SM57 on that while, to capture some low end, I had the bright idea of also sticking one of those flat PZM microphones onto the amp. It was the Radio Shack mic, not the posh Crown version, and I just blended that in. Being omnidirectional, it gave a little of the environment, and those mics were blended together and went through a Urei 1176. Typically, the pre would be an outboard Neve 1073 or an API, and only things like percussion would use the preamps on the console. > > "The same recording method was used for the other guitars, with the exception of the PZM. The SM57 is also mentioned in [this March 1983 *Musician* article](https://www.thepettyarchives.com/archives/magazines/1980s/1983-03-musician) about Tom Petty and the Heartbreaks. > They all use Shure SM57s, are mixed through a Davey Bryson console and are heard through Jensen Bulldogs.

According to Shure's artist page, Childish Gambino uses Shure's SM57 to mic his band's snare and guitar cabinet.

In this article by Sound on Sound it says MGMT used an SM57 saying : "We had to mic the drums with this Radio Shack mic on the kick and an SM57 on the snare. Then, in the end, on parts of 'Weekend Wars' and 'The Youth' on the record, some of the drum tracks were actually just that, run through preamps.”

At 0:55 Ola explains that he uses a Shure SM57 to mic his cabs.

Mentioned by *A Head Full of Dreams* co-producer Rik Simpson in this *Sound on Sound* article. > “My drum-mic setup mostly consisted of the usual contenders, apart from an old STC/Coles 4012 ‘ball and biscuit’ microphone as a mono overhead that I love, and a couple of Telefunken 251s as overheads. But everything else is fairly standard. I play around with different room microphones depending on a) how many band members I am recording at the same time and b) what the song needs. I quite like Coles, which are kind of grimy and dirty, and I quite like B&K microphones which are the opposite end of the sonic spectrum, a lot more hi–fi. I have a Shure 57 on the snare, but I sometimes go for a Neumann KM84 if the song is delicate and the snare needs that tender touch. For the kick I have a Telefunken M82 dynamic microphone that is designed for a kick drum and that sounds really good. It is punchy and big but not too clanky. The AKG kick-drum mics are a little bit ‘knocky’ for my liking.

Shure endorsed Nickelback's Chad Kroeger uses Shure's SM57, according to Shure's artist page.

In some relats and pics we can see Ian using a shure sm 57 http://www.bbc.co.uk/manchester/content/images/2005/04/29/joy_division_bowden_02_450x300.jpg

According to Shure's artist page, Bleachers' Jack Antonoff uses Shure's Beta SM57 microphone for his guitar and to mic his snare top.

Vocalist/guitarist Andrew Stockdale sings through a Shure Beta 58A. “Nothing is going to sound better on his vocal,” says front-of-house engineer/tour manager John Hagler, “especially to lift him above the guitars. I've tried to get away from using it, but every time I ended up just EQ'ing the thing to sound like a 58A, so I always go back to it.” His amps (below right) take two SM57s: one on the Marshall and one on the Vox."

Used for Haywyre's vocoder.

As can be seen at his official Instagram account (about making some music) you can see him using this item in the picture / video.

This Pro Sound Web article states that Tankian uses Shure SM57s.

Used in a 1993 session (with a four-track) to record "Last Call". He also uses in live performances (Winter/Spring 1999) for guitar and snare.

According to Shure's artist page, Imagine Dragons uses Shure's SM57 for their guitar cabinet.

Sufjan Stevens uses Shure SM57, according [this website](http://www.tapeop.com/interviews/70/sufjan-stevens/).

At 24:34 Larry Carlton talks about how he uses the Shure SM57 to mic up his amp to his effects. "Yeah, yeah, so pretty simple set up if you notice now there's a 57 on my speaker cabinet. There will be, when I'm playing live, 2 57s on my speaker cabinet one 57 is for the house mix the other 57, the tone of my speaker and my amplifier, it's that 57 and that tone is what ends up hitting my effects. Just like when you're in the studio, you have your dry guitar sound which you wanna put some effects on it, you have the send and return. It's getting the source from the microphone on your amplifier, so that's the conversion that I did because the tone I want my effects to hear is the tone I'm sending through it, right?"

Used on *Anthem of the Peaceful Army*, as stated by mix engineer Al Sutton in this January 2019 *Sound on Sound* interview. > "With regards to electric guitars, we usually had several amps set up, like an AC30 and a Marshall, or Marshall clone, and I tended to have a U67 on one and a U87 on the other cabinet, placed straight on the centre of the speaker. Sometimes I'd use a Sony C37 or a Shure SM57. All the guitar mics also went through the API desk, but I sent the bass through the Acme Audio MTP-66 pre and DI."

According to Shure's artist page, Jason Hook, playing for Alice Cooper uses Shure's SM57 Instrument microphone.

Throughout the video, Dave is clearly singing with an SM57.

A transformerless SM57 was used for some of the snare drum on *Only by the Night*, particularly on "Sex on Fire", as stated by producer Jacques King in [this December 2008 *Sound on Sound* interview](https://www.soundonsound.com/techniques/inside-track-kings-leon-sex-fire). > "The microphones on the drums changed a lot from song to song. On the kick it could be a Beta 52, sometimes it was an RE20, or a [Sennheiser] 421, or a [Neumann] FET 47, or an NS10 [i.e. the driver from a Yamaha NS10 monitor used as a mic], or a combination. It depends on what I was trying to achieve. The mics were usually in front of the kick, or just barely inside. On one song, 'Crawl', I did put a U87 on the batter side of the kick, next to the pedal, which gives a very attack-orientated sound, with a Led Zeppelin-ish quality. On 'Sex On Fire' I used the 52, FET 47 and NS10 on the kick. I had all the kick mics on a Neve BCM10 sidecar and I'd submix them and run them through a GML EQ and then to one track on the tape. I didn't want to keep them separate. It was a matter of get the sound, make the decision, and move on. > "The snare was recorded in similar fashion to the kick. I had the option of various mics that all went through a BCM10 and were submixed, through a GML 580 EQ, then a [Empirical Labs] Distressor, just to give it some control and make sure the snare hit the tape at the right level. On the track sheet a transformerless Shure SM57 is indicated. It was something I read about a couple of years ago, and it's a really good thing. It gives a nicer, more transparent, usable sound that requires less EQ. You lose a bit of level, but typically the things that you record with a 57 are so loud anyway that it doesn't matter. So I asked the people at Blackbird to take the transformer out of one of their 57s and they were gracious enough to do this. After recording I also ran the snare and kick through an Eventide DSP4000 on a Big Muff setting, and recorded that in Pro Tools during the transfer to the computer. > "The toms were recorded with three Josephson E22S mics, which are a modern type, and they're fantastic on the toms. There were a rack of toms plus two floor toms, and I also submixed the tom mics via a BCM10 to a stereo pair, panning the toms as was appropriate for the track. The overheads were recorded with a Telefunken Elam 251 going through a Neve 1081 preamp/EQ, then an Urei 1176, and then to tape. The ride cymbal and the hi-hat were recorded with RCA77 ribbon mics, the ones that David Letterman used to have on his show. When I use a mono overhead, as I did in this case, I like using ribbons, for a good stereo spread between ride and cymbal. > "I had half a dozen mics up for the room sound: a Neumann U67, M49, AKG C12, RCA 44, and/or a Royer SF12 in the echo chamber. I'd leave the door to the echo chamber open so the sound of the drums was happening in there as well, and I'd move the room mics around to get the sound that I wanted for a particular song. I would then bus different combinations to the two room tracks, depending on the song. In the case of 'Sex On Fire' I used a U67 and an RCA 44 for Room 1, and an RCA4 4 and an SF12 for Room 2. Some of these mics went through Neve preamps, some through an old RCA tube mic that Blackbird customised. The combination of room mics was bussed through a Fairchild 670."

Used for vocals and piano on *Nighthawks at the Diner*, as stated by producer "Bones" Howe in [this February 2004 *Sound on Sound* interview](https://www.soundonsound.com/people/bones-howe-tom-waits). The image shown from the interview is "Bones Howe's original layout diagram for the live recording that would become Nighthawks At The Diner." > For Waits' and Howe's first collaboration, it seemed logical to move up to the larger track configurations that were quickly becoming popular, and Heart Of Saturday Night and Nighthawks At The Diner, the first two albums they made together, in 1974 and 1975 respectively, were done on the 3M 16-track deck at Wally Heider's Studio 3. Nighthawks was an especially interesting project. (...) Howe used a similar microphone setup as for previous sessions, although he had to make a few exchanges based on what Record Plant had available those nights. Electro-voice RE16s replaced the Shures he was used to, and Howe set up a Shure SM57 for Waits's vocal. "It was easy to use as a hand microphone," he says. "I also had a RE16 for him to use if he wanted." Howe ran the 3M 16-track deck at 15ips. "I knew the high end sounded better at 30ips, but I didn't like how it emasculated the overall sound and thinned out the low end. All the jazz records I recorded I did at 15ips. I actually went from 15ips on tape right up to the moment I started working in digital." An SM57 was later used for the electric guitar on *Mule Variations*, as stated by producer Jacques King in this interview from issue 9 of *Audio Technology* Magazine. > Acoustic guitars were miked with a Neumann KM84 or AKG 451, guitar amps were either a Shure SM57 or Sennheiser 421, bass amp with a Neumann U47, and acoustic bass with an Neumann M49, U47 or 582, routed via a Neve 2254 compressor.

"His gig bag consists of the Shure SM57 microphone..." reads [this article](http://gizmodo.com/5913895/the-gadgets-of-reggie-watts) on Reggie Watts.

From Bizarre Festival 1999 in Germany.

A 57 can be seen on Joey's snare drum

"Anthony always used an SM57 for his lead vocals. We put it on a stand, but I'm sure he held it in his hand, and leant on it and swallowed it. That's how he gets his sound, but it meant that it was important to compress him, in order to protect the tape."

In [this 1982 documentary on the making of Gabriel's fourth album](https://youtu.be/scmYG1Pv1_Q?t=13m49s), we see a shot of several pieces of gear set up in his then-home studio. At the 13:49 mark, there's a clear shot of Peter singing into his SM-57.

Could be seen starting from 0:03

View caption at 4:43

Used for the snare drum on *Icky Thump*, as stated by recording and mixing engineer Joe Chiccarelli in this October 2007 *Sound on Sound* interview. > “The close mic setup for recording the drums was pretty standard: Shure SM57 on the snare, AKG D12 and Neumann U47 on the kick, a pair of ribbon Coles 4038s or Neumann U67s as overheads. I often fed the drums into a reverb chamber, or would overdrive the preamps, or fed them through a guitar amp. The preamps we used for the drums were the 1073 and a Neve BCM10." This is restated by Chiccarelli in [this October 1, 2007 *Mix Online* interview](https://www.mixonline.com/recording/white-stripes-365875). > As far as miking Meg White's kit, Chiccarelli kept things straight ahead: An AKG D-12 on the kick and a U47 as an overhead run through a Fairchild compressor. It was rare that he miked the snare, but when he did it was a U47 through a Fairchild. When she used a bigger kit, Chiccarelli put a 57 on the snare top and a Sennheiser 441 on the bottom. The toms were not miked, but he used an assortment of mics as overheads and in the room. “I set up a lot of different room mics, maybe eight,” Chiccarelli explains. “Depending on the song, I could go smaller, tighter and punchier, or wide and open. Sometimes, I would use old funky cheap mics as room mics and distort them. Other times, it was a pair of Coles, maybe combined with a pair of 87s far up in the room. We did things with drums like pumping them through the reverb chamber or pumping them through guitar amps.”

“With the last record, ‘Forever Dolphin Love’, I made the whole thing with an SM57"

Elvis Costello & The Attractions, 1979 U.S. Tour Another source: https://www.thoughtco.com/elvis-costello-artist-profile-10113

Used as a snare mic for “Every Breath You Take”, as mentioned by producer Hugh Padgham in this March 2004 *Sound on Sound* interview. > "At AIR Montserrat, the dining area had a gabled ceiling and reflective wooden floor, so I recorded Stewart's drums with room mics while also close-miking the kit, similar to how I recorded Phil Collins. There was a [Shure] SM57 on the snare, [Sennheiser] 421s on the toms, Coles 4038 ribbon mics for the overheads, and [Neumann] 87s as room mics, placed about 10 to 15 feet away and compressed a little bit. Obviously, we didn't use the room sound as much as we did for Phil, but it still provided Stewart's sound with a certain liveliness.”

Reid’s guitar rig had a much more modern vibe than the other players on the tour. In addition to his signature Parker guitar and Roland processor, it featured a Mesa/Boogie Dual Rectifier with a matching 4x12 loaded with Celestion Vintage 30s and mic’d with Sennheiser e906 (left) and a Shure SM57 (right).

Used on the snare drum for John Mayer's *Continuum*, as stated by recording engineer Chad Franscoviak in this October 1, 2006 *Mix Online* interview. > Jordan's assortment of drums — which seemed to be *endless*, Franscoviak says with a laugh — were miked fairly conventionally: an AKG D 112, an RE20, a 421 or a Beyer M88 on the kick; snares got 57s on top and bottom; M88s on the toms; an AKG 451 on hi-hats; and on overheads, he either used a U67 or U87. > The only trick that Franscoviak used, which he fully admits stealing from Joe Ferla, was putting a Coles 4038 ribbon mic directly over the center of the kit, parallel to the ground and as close in as possible without impeding Jordan's playing. “I generally compressed the snot out of that and I would run it through a Fairchild,” he says. “That's a really interesting trick because you have all of your tight sounds, but you add that 4038 and it makes everything more exciting.” > He also put a U47 about 18 inches off the ground and four to seven feet in front of the kick drum for a very specific sound. “At some point, we were going to hit that low-end waveform just right and it was going to fill that kick drum out,” Franscoviak explains. “I would compress it a lot with an 1176, a lot harder than the overhead, because I wanted that low end to be there for every hit.”

This is one of many pieces of gear listed in a 2007 Computer Music feature on Venetian Snares.

In [this interview](http://www.soundonsound.com/sos/oct99/articles/readerzone.htm), Gavin Harrison says he uses Shure SM57 microphones to record snares: "I use the '57s on the snare drum both top and bottom. They're a cheap all-round mic, but everyone uses them."

In this video, Ian D'Sa shows that he dual-mic's his iso cabs with an MD421 and a SM57 mic.

The website presents some of the equipment used by Elton John on his magnificent live performances. Second page, 7th paragraph states that Shure SM57 is in Elton's equipment list.

At around 13:16, a Shure SM57 can be seen beside SeamlessR's keyboard.

This is the vocal mic, then known as simply the SM7, that Bruce Swedien used to record Michael Jackson's vocals on Thriller, the best-selling album of all time

Visible at 0:22 in this video.

"In general I used both Shure SM57 and Royer R-121 ribbon mics, a few inches back, just off the center of the cone, give or take an inch or two depending on the part. When you back the mics off a bit, it can help a part sit in a track better, especially if there are more that two guitar parts."

The item can be seen 14:50 into this video...

According to Shure's artist page, Imagine Dragons uses Shure's SM57 for their guitar cabinet.

"Mics on the amp were a Shure SM57 and Royer R-121. Everything was recorded into Logic Pro. Beat was made with Native Instruments Battery 4." -Andy Othling

Used to record the snare top and snare beater-side.

At 0:23 in this video by Baby Grande Records, you can see Hi-Tek holding an SM-57 microphone in his hand as he is about to record a tom-drum. Later in the video (at 2:26) when Hi-Tek is talking about mic'ing his Snare, you can see an SM-57 pointed at the top of the Snare.

"Morgan is using a Shure SM57 for his vocal duties"

"First and foremost, I recorded—and still record—exclusively with a Shure SM57 because I believe that the magic in that little mic can’t be beat. I can’t tell you how many times engineers would place all these fancy condenser mics two or three feet away from my rig and tell me, “Don’t worry, we’ll get a good tone.” I’d never be happy with it though, so I’d set up the 57 two inches in front of and off the outer edge of the cone and it would always sound better!"

"I keep one of my basketweave cabinets mic’ed up all the time – 24/7 – for the last six years. I keep the heads in another room and switch between them, but keep the cabinet mic’ed up. I picked just one speaker and I use Shure SM57 and Sennheiser 409 mics together on the same speaker" - [Gilby Clarke](http://www.vintageguitar.com/2903/gilby-clark/).

Mr. Bill lists the Shure SM57 among his gear, in [this interview](http://blog.liveschool.net/mr-bill-qa/).

"The model I use with the POD is a Plexi Variac Marshall with Greenback 25s, mic’ed with a SM57. And I worked very, very hard in a studio environment to hone that sound."

"So here's the miking setup I'm going to use today and this, maybe, a little but of overkill and you typically don't need more than one mic on a cab, but we're goin' a little over the top in this video. So I have a Shure SM57 as well as an Earthworks SR25. (...) What do you do with a dual-miked cab? I like to blend the two microphones together. I like the high end of a 57 and I like the low end of the Earthworks mic, so blending those two together, you can get sort of in the weeds as far as panning goes and you gotta look out for phase, but if you mike the amp correctly, you're not gonna run into too many issues and have a lot of creative freedom."

Shure endorsed Vance Joy uses Shure's SM57, according to Shure's artist page.

According to Shure's artist page, Cheap Trick uses Shure's SM57 microphone for their guitar iso box.

The Whitfords depended on the time-tested—and Hendrix-approved—Marshall Super Lead and a Marshall 4x12. The head is a reissue 100-watt model, and the cabinet is a 1960BX loaded with Celestion Greenbacks. It’s mic’d with a Shure SM57

At 1:41 he said the he uses a standard sm57 for the top of the snare.

> I record to Cubase through really good Apogee convertors, and I generally just pick a very simple chain using a nice preamp and a Shure SM57 mic—just like all the oldschool guys used to do. Here’s a tip I learned from three of the big four metal bands: Put an SM57 in the bottom left speaker of your 4x12 cabinet, aim it dead center in speaker and up against the grille, and then move it to the left about an inch or so. That’s pretty much the miking technique for most of the great metal albums that came out in the ’80s, and even including Pantera in the ’90s. I have a good set of Celestion speakers in my Hughes & Kettner cabinet, and, quite honestly, as long as it’s Celestions and an SM57, you can get a great metal sound. Guitar Player interview, 2010.

Can be seen above snares throughout video

It was written in the description as one of the equipment used in this video.

A Shure SM57 can be seen in this recording photo posted to Merzbow's Twitter.

Joey has been sighted using the SM-57 live on tour, here we see him employing it at Coachella in 2017 with King Gizzard and the Lizard Wizard.

> I had two Shure SM57s on the snare, top and bottom, and on the toms I had an SM57 on the top and a Sennheiser 421 underneath. You have to be really careful in positioning these mics; the top gives more attack and the bottom will pick up a more round tonal quality. Mike Fraser, Sound on Sound interview, 2009.

At 3:53, Dave pulls a Shure SM57 out of a box of microphones.

According to Shure's artist page, Imagine Dragons uses Shure's SM57 for their snare.

Tobacco can be seen using an Sure SM57 during his live performances.

In this [Sound on Sound interview](http://www.soundonsound.com/sos/jul13/articles/it-0713.htm), Ken states of his recording microphones, "I have an [AKG C414 TLII](https://equipboard.com/items/akg-c414-tlii) for vocals and acoustic guitar, a couple of [Royer R121s](https://equipboard.com/items/royer-r-121-ribbon-microphone) and some [Shure SM57](https://equipboard.com/items/shure-sm57-instrument-vocal-mic) and [58s](https://equipboard.com/items/shure-sm58-vocal-microphone) for guitars, and that's it."

Used during the Muscle Shoals sessions as a hi-hat mic, as stated by mix engineer Jimmy Johnson in this September 21, 2018 ProSoundWeb interview. > Then I had a hi-hat mic, which I think was another (EV) RE-15, though it could have been a little (EV) 635A—that remains in question. The RE15 was a better mic, had more response. We avoided using the 635A unless we had to. Actually, if not the RE15 it might have been a (Shure) SM57, more likely than the 635A.

What am I doing, it's just this mic, this SM 57 plugged into this thing," you know.

In this Instagram post made on November 16th, 2017, Takayoshi Ohmura was spotted using a Friedman Runt 20 head with a Shure SM57 micing up a Bogner 2x12 cabinet for recording.

This mic can be seen on his cab at 7:55

In the 2014 interview with the Vienna Symphonic Library, the Shure SM57 Instrument/Vocal Microphone can be seen at Elfman's workplace in his Malibu studio.

in the fall of 94, jeff returned home to ruston to make his first attempt at recording “on avery island", alone on his 4-track, (which was a tascam 424 portastudio, with sm57, just in case you were wondering) anyway he finished these two songs, and although loving what he had made, decided he needed his friend robert to record with if he were to ever have any hope of completing an entire album (which they proceeded to do, on a fostex A4 reel to reel 4 track)

According to [this article](http://patricksisson.com/gang-signs-post-punk-legends-gang-of-four-revisit-old-principles-and-crank-up-the-transistor-amps-on-content/), in which Andy discusses his drum micing technique, "For the snare, I use an SM57 or Beyerdynamic M88, an SM85, and a KSM44."

This get's mic'd with a 57

Shure endorsed Nickelback's Ryan Peake uses Shure's SM57, according to Shure's artist page.

Shure endorsed Young the Giant's Jacob Tilley uses Shure's SM57, according to Shure's artist page.

In a tweet made by Syu on Dec 1st, 2018, his Marshall rig is shown to be mic'd up with a Shure SM57.

"The Body Bags score was composed using Digital Performer software running on a Macintosh Iicx computer. Sampling was done with an Emulator IIIxp and a Forat F16. Other electronic instruments include Hammond B3, Wurlitzer electric piano, MicroMoog, Roland MKS80, D550, Prophet VS, Yamaha DX and TX series, EMU Proteus 1 and 2, Korg M1r and M1rex, and an AKAI 612. The score was digitally recorded using Alesis ADATs and BRC and John Hardy microphone preamps. Microphones included AKG414, Shure VP88 and SM57. The music was mixed on a custom Speck Electronics model 62 console. Signal processors used include: Behringer MDX 2000, SNR 802, DBX165a, B&B and Troisi cq, Dyna-Mite, Aphex expander gates, Lexicon and Yamaha Reverbs, Zoom, TC and Korg delays. Additional DSP and editing done in Sound Designer/Sound Tools." -John Carpenter

SM57s used at the cymbal bottom and as a vocal mic for the bass player.

“Starting with the kick drum, I used an AKG D30, but then I sometimes used the Shure Beta 52A and I used a [Yamaha SKRM-100] Subkick too at times. On the snare drum, I had a [Shure] SM57 or sometimes the Telefunken M80. It’s a little more of an open kind of mic. With the toms, I used a [Shure] Beta 52A on the floor tom, which I really liked. It’s really got a lot of bottom and some top but it’s got a thing where it kind of glues things together with the rest of the kit when you bring it in. It worked really well with the overhead mics. I also used a [Shure] SM7 on one tom. For overhead mics, of all things, I used these [MXA] MCA SP1s. "

Used for the rack toms and snare drum, as mentioned in this transcription of a February 1982 issue of *U2 Magazine*. > Larry has a somewhat unusual drum set up. Not that the kit itself was unusual, but it was arranged in an unusual manner and had several unusual extras. The basic kit is a very impressive all black Tama Fiberstar - all single headed, and including a 24" kick drum, 16" and 18" floor toms, and a selection of rather deep rack toms. The snare was a Ludwig 14"x61 " steel shell and he also has a pair of Latin Percussion Timbale. The cymbals comprised Zildjian 18" thin ride; 18" thin crash; 18" medium crash; 18" pang and 21" ride, with Paiste 14" hi-hats on a Premier Trilock pedal. The rest of the stands are Tama. The kit is miked using Sennheiser 421's for the kick and the floor toms, Shure SM57's for rack toms and snare, Electro-voice RE10 on the hi-hat and AKG D190's on the rest. No overhead mikes. The SM57 was later used for the snare drum and ride cymbal on "Get On Your Boots", as stated by producer Declan Gaffney in [this Sound on Sound interview](https://www.soundonsound.com/people/secrets-mix-engineers-declan-gaffney). > "Most of 'Get On Your Boots' was recorded in Dublin by Richard Rainey, and the basic backing tracks were done live, by the whole band together. There was an [Electro-Voice] RE20 inside the bass drum, with an SE Electronics Titan on the outside, a [Shure] 57 underneath the snare, and Richard had his own Heil mic on top, which he alternated with a Beyer M201; the toms were [Sennheiser] 421, overheads Coles 4038; ride cymbal was sometimes a 57, sometimes a [AKG] 451. Everything went through the Neve 1091 or 1093 mic pres."

Visible in this August 6, 2016 Twitter post.

"We mike each amp with a Shure SM57.” - Robert's guitar/bass tech [Djamir “Penguin” Filho](http://www.mixonline.com/news/tours/all-access-florence-and-machine/368254).

According to Shure's artist page, Chris Isaak uses Shure's SM57 microphone for his snare, guitar cabinet, and leslie cabinet top.

According to Shure's artist page, Casting Crowns uses Shure's SM57 microphone for their snare top.

This article states that Linkous uses Shure SM57 microphones for recording.

According to Shure's artist page, Iron and Wine uses Shure's SM57 microphone to mic his snare top.

"Recording time! #recording #toneking #sm57 #tolex #red&white #fender #strat"

In this MxPx's video we can see Mike using a Shure SM57

at 0:30 you can see him singing into a shure sm57

According to Shure's artist page, Chris Tomlin's band uses Shure's SM57 for their snare, guitar cabinet, and leslie cabinet high.

Used for Donald Fagen's *Morph the Cat*, as stated by mix engineer Elliott Scheiner in this August 2006 *Sound on Sound* interview. > According to Elliott Scheiner, the following mics were used on the Morph The Cat recording sessions. > * Kick drum: AKG D112. > * Snare: SM57 (only on top). >* Hi-hat: Neumann KM81 or 84. > * Toms: Audio-Technica ATM25. > * Overheads: Neumann U67. > * Room mics: Electrovoice RE20. > * Electric guitar: Shure SM57 right on speaker cone. > * Piano: 2x AKG C12 mics, about 12 inches from the strings. > * Trumpet and trombone: Coles ribbon. > * Tenor sax: Neumann U67. > * Baritone sax: Neumann FET47.

In this video, John Browne mentions he uses a Shure SM57 for micing up his amp.

"We mixed it up using some computer software and my Boss GS-10. I also used some of my blackface Fender amps. We usually used Shure SM57s to mic the cabs."

“My drum mics consist of two Coles 4038s for overheads, Shure SM57s on the snare top and bottom, AKG D12 on the kick, and during the recordings of Sia’s record I had Sennheiser MD421s on the toms, but now I have AKG C414s — the old, silver ones".

According to Shure's artist page, Cage the Elephant uses Shure's SM57 microphone for their bass cabinet.

In [this](http://www.emusician.com/artists/1333/grizzly-bear/45110) Electronic Musician article, it is stated that Taylor used a Shure SM57 microphone while recording Grizzly Bear.

Jack Conte mentions owning a Shure SM57 Dynamic Microphone on the gear page of his official website. In this Pomplamoose music video, it can be seen pointing at a snare while Jack plays the drums.

SOS Magazine article: Secrets Of The Mix Engineers: Renaud Letang "Many people have asked me how I did Feist's vocal tracks on the album. We had two setups for the whole album. I had a Neumann U67 and an SM57 both going into a Vox guitar amp, on which we EQ'ed and added reverb. The Vox was miked up by an SM57 and a U87 and then went into the old Neve A646. This gave us what we called the 'dirty' vocal. The other setup was just one U67 going into the Neve preamp in Canada, which was similar to the Neve A646.

Oz Noy lists all of his current gear, including this one on his website.

"I generally plugged straight into a Marshall TSL head miked with a pair of Shure SM57s and a Neumann U87 and combined the signals."

Shure endorsed Young the Giant's Eric Cannata uses Shure's SM57, according to Shure's artist page.

Used for the electric guitar on *Volume 3*, as mentioned in this April 15, 2015 *Electronic Musician* interview. > Ward’s electric was double-amped through a Fender Deluxe and a Silvertone that [producer Pierre] De Reeder miked with SM57s, the idea being that the two amp sounds could be selected, blended or panned at will. Ward’s acoustic went to a Neumann KM84.

Glenn has used his Shure SM57s in many of his YouTube videos but in this video he first shows it at 0:37.

Zayn seems to have been using a Shure SM57 Vocal Microphone while recording in a tent with producer Malay Ho.

In the comments, Ayla replied to a comment asking "What mic do you use??" and she replied "SM57"

Titled a WIP on his personal Tumblr *ACCIDENTALLY "DEEPTHROATED" AN SM57*

He uses the shure SM57 on his snare drums.

aT 2:45 this mic is on Javier's cab along.

Shure endorsed band, Anti-Flag's lead vocalist, Justin Sane, uses Shure's SM 57, according to Shure's artist page.

My live rig with Bush is a monster. My guitar runs through volume pedal, then a Jerry Cantrell wah, into the front of a Fractal AXFX XL II+, it splits out of the FX loop into a Voodoo amps modded Marshall JMP-1with a gold Marshall EL34 100/100 and into a first revision Mesa Boogie Dual Rectifier. Both amp signals send to 2 separate Rivera silent sister iso cabinets loaded with Eminence EJ1250’s. Each speaker has 2 microphones, and modded Sure Sm 57, and a Sennheiser 421.

It's been disputed whether or not Joey used an SM58 or a Unidyne, but as can clearly now be seen on the posts here: he used both.

Visconti says that the basic vocal chain on the album consisted of Bowie's own Manley Gold Reference Mic into an Avalon mic pre, into an LA-3A compressor and a Focusrite Red EQ, then into an Apogee 8000 A/D converter and a G4 Mac running Logic Audio. “I started recording vocals on analog, as I did with all of the drums [16-track at 15 ips with Dolby SR, or 30 ips with no noise reduction — I consider it to be the ultimate tape format,” Visconti says, but the lock-up became tedious, so we stayed in the digital realm — 24-bit, 44.1k]. On one song, ‘I Took a Trip on a Gemini Spacecraft,’ I used a Shure SM57 to get a rockier sound, but I later regretted that because the Manley spoiled me rotten. It's such a sweet mic, very musical in the midrange. The Manley mic vocals just leapt out of the mixes, whilst the 57 needed lots of EQ, compression and, ultimately, de-essing to get it above the mix.”

In a tweet made by Leda on August 8th, we can see that his Bogner 4x12 cabinet is mic'd up with a Shure SM57.

"A Neumann FET47 (the first real mic I ever bought, a great kick mic) and an old AKG D12, plus pairs of Neumann U87s, AKG 414s, 421s, AT451s, AT4033s, some Groove Tube mics, a magical AKG C12A, a stereo ATM that works great to take around for overdubs elsewhere (like the kitchen or garage), some weirdo mics I’ve found while touring, plus the solid traditional stuff like a Shure SM57, which is the snare drum standard for me. I was also just given some Earthworks mics, which have amazing detail–I never heard the downstairs TV in my overheads before!"

Used on *Anthem of the Peaceful Army*, as stated by mix engineer Al Sutton in this January 2019 *Sound on Sound* interview. > (...) "I take the Glyn Johns setup as my basis, with an overhead and a side mic equidistant from the snare — I use two drum sticks to measure the distance. I used to use two Mesanovic M2 ribbons for this, but now use two Neumann U67 mics. In addition, my kick mic is the AKG D36, and my snare mics are the Shure SM57 and Neumann Gefell M300, held together by an X clip. I have a mic pointing at the side of the snare which often is called the 'wurst mic' [a term coined by German engineer Moses Schneider for a saturated lo-fi drum mic that delivers a sausage-shaped waveform — Ed.]. I used to use the Neumann UM57 for that, but now it's the Sennheiser MD441. It's really pointy and effected-sounding, and technically you can use that mic for your entire drum sound. My room mics are two Mesonovic ribbons, in a Blumlein setup. All drum mics went through the API, straight into Pro Tools."

His technician interview.

Anderson states on the official [Jethro Tull site](http://jethrotull.com/the-attic/musical-instruments/ian-anderson/): "When I first took up the instrument, by playing into the same mic as I used for vocals – the Shure model 57"

In this video, Sarah Longfield mics her snare drum with a Shure SM57.

In [this blog](http://www.polymathperspective.com/?p=3900) about the making of Eno & Hyde's 2014 album *Someday World*, Karl's setup is depicted with an SM57 tucked alongside the Pioneer CD player on his desk.

According to Shure's [website](http://www.shure.com/americas/artists/dierks-bentley), Dierks Bentley uses a Shure SM57.

According to Shure's artist page, Boyce Avenue uses Shure's SM57 for their guitars.

Shure SM57 Instrument/Vocal Microphone

Used as a vocal microphone in the video for The Wallflowers' "One Headlight". First visible at 0:30.

Shure SM57 is included in the list of Gareth Jones' gear.

Shure endorsed band, Anti-Flag's guitarist, Chris Head, uses Shure's SM 57, according to Shure's artist page.

Besides Battlecat in the video

In this fantastic cover, at 1:30, we can see Flansburgh singing into Shure SM57.

Kevin uses this microphone during the "everything that's perfect" section of the STAR music video. At 3:13, to be exact.

"Shure sm57 is rock and roll"

[](http://www.errorhead.com/en/gear)

Microphones: (2) Josephson 606A-KA21 hypocardioid small condenser (2) AEA N22 active ribbon (2) Neumann KM130 omni small condenser (1) Blue Mouse cardoid large condenser (2) Blue Dragonfly cardoid large condenser (2) ADK TL-Au custom modified multipattern large condenser (1) ADK TL-Gk67 custom modified multipattern large condenser (2) ADK Sigma CHI small diaphragm condenser (4) ADK Sigma CHI large diaphragm (lollipop 47, 251 capsules) (2) Oktava MK012 w/ Red Replacement capsules (1) Audio Technica AT4050 multipattern large condensor (2) E/V NDym 408 dynamic (2) Shure SM57 dynamic (1) Sennheiser MD421mII dynamic (1) AKG D112 kick drum mic

A picture taken with their Jaguar, Hot Rod Deluxe and SM57

"Shure SM55, 57 and 58 mics" is included in the list of equipment at Stuart Price's studio.

According to Shure's artist page, Boyce Avenue uses Shure's SM57 for their guitars.

According to Shure's artist page, Imagine Dragons uses Shure's SM57 for their snare.

This article states that Jerry's studio includes "AKG 414 (2), C451E (2), and D12 (2); EV RE18 (2) and RE20; Neumann KM86i (2), KM88i (2), TLM 103 (2), U67 (2), U87 (2), and U89i (2); Sennheiser 421 (4); and Shure SM57 (4), SM7B, and SM58."

He and Poppy use the same SM57 with the top cap removed. Can also be seen in Poppy's - Lowlife (acoustic) https://www.youtube.com/watch?v=z3nrzRbJOm8

It can be seen at 1:57

"**Interviewer:** What kind of gear did you use during the recording process? **Bouillet:** Guitars used where FGN Fujigen Expert OS, 1978 Les Paul Standard, 1978 Ibanez Pf 300. Pickups Seymour Duncan JBs, Intex Cables which I highly recommend, Dunlop picks, Marshall, Mesa Boogie, Roland Micro Cube amps, Eleven. Boss Gt 100, Boss Super Shifter, Vemuram Triplex, Line 6 delay, D'Addario strings, Pro Tools. Neve 1073's, RCA pre's, V76's Shure 57's."

Alan is using an SM57 at 2:03.

According to Shure's artist page, Glen Buxton, playing for Alice Cooper uses Shure's SM57 Instrument microphone.

"For guitar amps, I start with an SM57 typically, but sometimes a RØDE, usually into this UREI 1178 compressor through an API 312 mic preamp. I usually go into this API 550A EQ; or if something really needs to be carved out, I'll go into this UREI 546, an old film mastering EQ, with very specific control. Sometimes I'll send the guitar into this old RCA solid state compressor. The RCA also sounds great on snare."

"We’ve been using Neumann U47s and Shure SM57s – the usual mics – and it seems to work pretty well."

alvaro lopez use a Shure SM57 Instrument/Vocal Microphone

in the video clip you can see in the the croner a bunch of text. it says what there are using

[This image gallery](http://beintheloopchicago.com/the-soft-moon-metro/) of shots from a 2018 live performance by the Soft Moon shows Vasquez drumming on a trash can, which is mic'ed with a 57.

Richard Swift professes his love for the SM57 in this article.

Danny Can be seen using this mic in the music video for Cigarettes & Saints

tom uses either a shure or a handheld style microphone it looks like a bar style

Visible at 0:58 in this TC Electronic Gear Run for Elbow's Northside Festival 2011 set. Two appear in the video, one for each of Potter's Dual Rectifier Roadsters.

Used for Donald Fagen's *Morph the Cat*, as stated by mix engineer Elliott Scheiner in this August 2006 *Sound on Sound* interview. > According to Elliott Scheiner, the following mics were used on the Morph The Cat recording sessions. > * Kick drum: AKG D112. > * Snare: SM57 (only on top). >* Hi-hat: Neumann KM81 or 84. > * Toms: Audio-Technica ATM25. > * Overheads: Neumann U67. > * Room mics: Electrovoice RE20. > * Electric guitar: Shure SM57 right on speaker cone. > * Piano: 2x AKG C12 mics, about 12 inches from the strings. > * Trumpet and trombone: Coles ribbon. > * Tenor sax: Neumann U67. > * Baritone sax: Neumann FET47.

Shure endorsed Nickelback uses Shure's SM57 to mic percussion, according to Shure's artist page.

According to Shure's artist page, Kane Roberts, playing for Alice Cooper uses Shure's SM57 Instrument microphone.

Visible in this 1984 photo of Brown in New York, taken from [this page](https://jazzinphoto.wordpress.com/2011/09/24/james-brown-new-york-ny-1984-joseph-a-rosen/) of the website Jazzinphoto.

According to Shure's artist page, Imagine Dragons uses Shure's SM57 for their guitar cabinet.

In interview Robert said that he's using Shure Sm57 microphone for his amp.

According to Shure's artist page, Cage the Elephant uses Shure's SM57 microphone for their snare.

Visible as a vocal microphone in this photo of Parnell.

Shure endorsed O.A.R.'s Marc Roberge uses Shure's Beta SM57 for bgv, according to Shure's artist page.

The SM57 is also mentioned in [this March 1983 *Musician* article](https://www.thepettyarchives.com/archives/magazines/1980s/1983-03-musician) about Tom Petty and the Heartbreaks. > They all use Shure SM57s, are mixed through a Davey Bryson console and are heard through Jensen Bulldogs.

Rack tom mic he uses

If you read the tweet in the URL, you can see Jacoby stating that he prefers an SM57 for recording vocals on studio.

Uses it to mic up his Fender Champ amp

used to put his microphone next to the drum kit so it wouldnt spill cymbals into the mix

Used to mic the top and bottom of the snare in his studio.

Used alongside a Shure SM58 in the music video for Rival Sons' "Keep On Swinging".

On October 29, 2018 in this Equipboard article, German guitarist Julian Wolf noted: "When we recorded the album there where a number of microphones used, including a Shure SM57."

In the description of the video Garrett says that he used the Shure SM57 microphone.

you can see he has on his snare drums when the drums are in view.

In the description of the video he says he used a Sure SM57.

In this video, Larry was seen using an amp that was miced up with two mics, one of which is a Shure SM57.

James uses this mic when recording

Mentioned by recording engineer Richard Dodd in this *Sound on Sound* interview about the recording of "Learning to Fly". > I believe Jeff played the bass on 'Learning To Fly', DI'd as usual, and the drums would have been miked with a 57 about 18 inches away from the snare, an [Neumann U] 87 on the cymbals and the same 57 on the tom-toms. Pretty basic stuff. The SM57 is also mentioned in [this March 1983 *Musician* article](https://www.thepettyarchives.com/archives/magazines/1980s/1983-03-musician) about Tom Petty and the Heartbreaks. > They all use Shure SM57s, are mixed through a Davey Bryson console and are heard through Jensen Bulldogs.

Tiedraw used this mic to record their first single "Dropped Milk" released on 2016

Shure endorsed Nickelback uses Shure's SM57 to mic percussion, according to Shure's artist page.

Matt: Does your studio set up differ from your stage rig? Stacey: I keep things pretty simple. My role in Hi-Fi is to just provide the meat. I have two settings distorted and really distorted, loud and louder. Normally I play all the rhythm parts, but for this record Jamie and I both played rhythm because we 99% of it is live off the floor. So in other words, when we got a drum track we got a bass and two rhythms guitar track as well, because we were all tracking live together. There’s this intangible quality you get with four guys playing live at the same time. There’s no beat detective or anything with this record, we just did it live and then added overdubs later. Generally speaking, I use a Marshall JCM2000and I’ll put a 421 or a 57 on that and a Royer, a little darker mic, and I have a Bad Cat combo amp that I use. So I have this wall of distortion from the Marshall and I’ll mix in the chimey, clean stuff from the Bad Cat, and that really works well for me. That’s in the studio, and on stage I’m really simple, I really just set up the Marshall and I’m good to go.

Recording voices with Shure SM57 during the "Volumen 5" sessions.

Used live for the snare drum, as is visible in [this May 30, 2011 photo of Comtois from the Young the Giant Tour](http://www.wireimage.com/celebrity-pictures/Drummer-Francois-Comtois-Doostzadeh-of-Young-the-Giant-performs-at/125896608) and as stated by drum tech Colin Strahm in this March 1, 2014 *Mix Online* article about the Mind Over Matter Tour. > Drummer Francois Comtois’ kit has a Shure Beta 91A and Beta 52 on kick, Beta 57 and SM57 on snare, KSM 137 on hi-hat, and Beta 98AMP on toms, according to drum tech Colin “Gravy” Strahm. Cymbals are KSM 32s, and his vocal mic is a Beta 56.

According to Shure's artist page, Neal Smith, playing for Alice Cooper, uses Shure's SM57 to mic the snare.

Stephen is singing into an SM57 throughout most of the video.

Shure endorsed Amon Amarth (Fredrik Andersson on drums) uses Shure's SM57 microphone to mic the bottom of the snare, according to Shure's artist page.

shure sm57 is in the amp

Ricardo sings with shure57

Used in this live performance of Dinosaur Jr.'s "Sludgefeast" as a ride cymbal mic. First visible at 0:24.

Now it’s time to start doing my own percussion’s, I feel I need to get a more natural feel to my film scores / music.

As mentioned on Shure's official website.

For miking duties, whether on bass or guitar amps, Hyde used a Beyer M160 or a Shure SM 57…

According to Shure's artist page, Casting Crowns uses Shure's SM57 microphone for their snare top.

Osenga has this piece of gear listed as a part of his rig. He has a few of them.

Used as a vocal mic in this live performance of Kiev's "Pulsing: Home Now". First clearly visible at 0:29.

Used to record the banjo in Guster's "The Captain". Visible at 7:04.

Seen used in Hoodboi's Instagram story.

At the 1:04 mark, Mitch moves the camera towards the Microphone and by design, it is an SM-57 plugged into some Interface

Mr. Savage is seen performing with a Shure SM57 throughout the concert

According to Shure's artist page, Blues Traveler's Brendan Hill uses Shure's Beta SM57 to mic his snare.

Used for rehearsal, stage and background vocals

"When I record guitars, I usually start with a SM57 pointed on-axis about one or two fingers width off the grill of the cab with the mic aimed just outside of the voice coil dust cover. Sometimes it’s handy to have a flashlight to see the actual speaker through the grill cloth."

Used for Donald Fagen's *Morph the Cat*, as stated by mix engineer Elliott Scheiner in this August 2006 *Sound on Sound* interview. > According to Elliott Scheiner, the following mics were used on the Morph The Cat recording sessions. > * Kick drum: AKG D112. > * Snare: SM57 (only on top). >* Hi-hat: Neumann KM81 or 84. > * Toms: Audio-Technica ATM25. > * Overheads: Neumann U67. > * Room mics: Electrovoice RE20. > * Electric guitar: Shure SM57 right on speaker cone. > * Piano: 2x AKG C12 mics, about 12 inches from the strings. > * Trumpet and trombone: Coles ribbon. > * Tenor sax: Neumann U67. > * Baritone sax: Neumann FET47.

Frank uses a SM58 in this performance, the camera zooms in on it at the end of the video.

Can be seen next to the NT1-a and is in front of the Guitar amp.

In this shot you can see that Mr. Probz mics up his [Matchless](https://equipboard.com/items/matchless-chieftain-2x10-combo-amp) amp with an SM57.

Seen at 13:08 in this rig rundown interview.

seen recording with on instagram

Shure endorsed Alison Krauss & Union Station (Dan Tyminski on lead vocals) uses Shure's Beta 58A microphone, according to Shure's artist page.

In this video, Vladimir is seen using a Fender Bassbreaker stack amp mic'd up with a Shure SM57.

From website; "For recording guitar Jay uses a Massenburg eq and a Massenburg limiter. ...and two Shure SM57 microphones..."

Mic can clearly be seen in the photograph.

Affordable & reliable microphone for vocal recording

Here is the site of studio where Sir Michu works. He is using most of the instruments, and gear from the "Dane techniczne" list.

"We recorded the guitars using a Mesa Boogie Mark 2B Amp close mic'd with a Shure SM57."

"I only own one microphone, and it’s a Shure sm57"

In [this live in-studio performance](https://youtu.be/kn61fLDBHpI), Julie can clearly be seen singing into a Shure SM-57 microphone.

Shown up close in this live performance of Kiev's "Loot Recovered" at 4:16.

Used to mike Corn’s snare.

Here we can see Tiago singing with a shure sm57

Shure endorsed O.A.R.'s Marc Roberge uses Shure's Beta SM57 for bgv, according to Shure's artist page.

At 0:24 we can see Hobo Johnson singing into a Shure SM57

Shure endorsed O.A.R.'s Jerry DePizzo uses Shure's Beta SM57 for bgv, according to Shure's artist page.

Tyler actually uses this microphone for recording his guitar

Shure endorsed Nickelback uses Shure's SM57 to mic percussion, according to Shure's artist page.

The mic are specified in this tech rider and is always seen in his live gigs in front of his amp.

Visible in this photo.

At 1:18 in this video he says hes using a 1x12 Fender Bandmaster miced by a Shure SM57

This versatile mic had to be part of Daniel´s essential gear

Toni Torres use in HCTSOUND recordings and some shows.

According to Shure's artist page, Cheap Trick uses Shure's SM57 microphone for their guitar iso box.

My microphones: Rode NT-2A (x2) Rode NT5 (x2) Shure SM57 Shure SM58 Sennheiser E602 Sennheiser E906

According to this interview with Guitarplayer.com Capps uses an "old" SM57 to amplify his guitars on stage: "It’s got less high end than some of the newer models. I can’t deal with a direct sound because I don’t need some soundman trying to equalize the volume between my guitar and my voice. If I need to be louder, I’ll lean in. It’s like how Bill Monroe’s old bluegrass groups used to play around one mic. When someone took a solo, they would lean in."

On pedalboard nº1

Reeps One is seen using a Shure SM-57 in this beatboxing video and many others of his.

seen in this video

"According to drum tech Jeff Linsenmaier, Ben Wysocki's kit is miked with Sennheiser e 602 and Yamaha SubKick (bass), Beyer M201TG (snare top), Sennheiser e 604 (snare bottom), AKG C 430 (hi-hat), Shure SM57 (tambourine), Sennheiser e 604s (rack/floor toms), AKG 460 (ride cymbal) and AKG C 414 B-XL II (underhead stage-right/left)."

He used a Shure sm57 on this show with Bloody Hell.

In his YouTube page "SquidPhysics", Ben has the list of some material that he uses, which includes the Shure SM57 Instrument/Vocal Microphone.

According to this article Rogue Wave used this microphone on Rogues acoustic guitar while recording "Permalight".

The following photo was taken from the PDF file included with Warmer's album, The Tragic Evolution of Desire. All the gear included was used in the making of this album.

As seen on Artist Instagram account

Shure endorsed Ana Tijoux uses Shure's Beta SM57 microphone, according to Shure's artist page.

In this rare photo from the Lonely Enclave twitter you can see his SM57 in plain site.

According to Shure's artist page, Boyce Avenue's Daniel Manzano uses Shure's Beta SM57 for his snare's top.

According to Shure's artist page, Christina Perri's drummer uses Shure's SM57 for the snare top.

A standard for recording guitars

First visible in this interview at 0:03, where it is used to mike Miller's acoustic guitar.

Viisble in the music video for Guster's "Careful" at 0:20.

On the snare we are also using two mics: the SM7 on top and SM57 on the bottom

used while recording

Used on Charles Bradley's *No Time for Dreaming*, as mentioned in this March 15, 2011 *Electronic Musician* article. > High-octane performances are at the heart of Bradley’s long-overdue debut album, *No Time For Dreaming* (Dunham, 2011). Started in 2005 in Brenneck’s former bedroom studio, the album is a reverent throwback to the days of Muscle Shoals, Stax, and Studio One, when entire bands would cram into a room with just a couple of microphones—in this case, Brenneck’s own six-piece Menahan Street Band, with only a Shure SM54 and an SM57 going into a TASCAM 12-channel mixer—and lay down a barrage of rhythm tracks that were bounced, squeezed, and compressed to make room on the tape for the wailing lead and background vocals.

Used as an overhead mic on "Linger", as mentioned in this March 2019 *Sound on Sound* interview. > In regard to drum miking, Stephen Street's approach was fairly standard for early '90s recording. "Yeah, pretty traditional in a sense," he says. "I might have used a [Neumann] U47 FET inside the bass drum. The usual kinds of Shure dynamic mics on top of the snare and under. Sennheiser [MD] 421s on the toms, KM84 on the hi?hat, and the overheads would have been two U87s. That tended to be my go-to set-up back in those days."

"The overhead was usually a [Sony] C37. The snare would've changed around for sure, but usually it was just a [Shure SM]57. If I needed a bottom snare, like if I needed a little more crack out of it, it would be whatever cheap condenser I had sitting around, because it doesn't need to sound great, it just needs to pick up that high frequency. "

Visible in this photo of Capiozzo.

You can see the Sm57 here

In this video you can see Jethro singing into a Shure SM57.

J Diabolus Nemesis prominently uses these microphones on his amplifier speaker cabinets but when he did a rehearsal he used a shure SM57 microphone as a vocal mic.

According to Shure's artist page, Chad Brownlee uses Shure's SM57 microphone for his snare bottom and guitar cabinet.

According to Shure's artist page, Brad Paisley uses Shure's SM57 for his guitar cabinet and snare.

Shure endorsed Alison Krauss & Union Station (Ron Block on Guitar) uses Shure's SM57 microphone, according to Shure's artist page.

According to Shure's artist page, Dawes uses Shure's SM57 microphone for their snare.

"Re–amping and distortion are likewise more important to Craig Potter's own keyboard sounds than experimentation with synthesis or sampling. 'I don't have many old analogue synths, I have a few, but I usually just use piano and bits of organ,' he says. 'I suppose I'm just a big fan of distortion, really. I distort everything! Piano distortion I love. We just chuck a 58 or a 57 in the piano and then we run that out, make sure there's plenty of doors in the way so it doesn't feed back, crank it up through an amp — I love that sort of thing. So it is basically piano that I play, bit of organ, some synths. We've got the Microkorg we used for the bass on 'Bones Of You' and we've got a Nord, little bits and bobs.'"

Shure endorsed band, Anti-Flag's drummer, Pat Thetic, uses Shure's SM57 to mic his snare, according to Shure's artist page.

Used for Donald Fagen's *Morph the Cat*, as stated by mix engineer Elliott Scheiner in this August 2006 *Sound on Sound* interview. > According to Elliott Scheiner, the following mics were used on the Morph The Cat recording sessions. > * Kick drum: AKG D112. > * Snare: SM57 (only on top). >* Hi-hat: Neumann KM81 or 84. > * Toms: Audio-Technica ATM25. > * Overheads: Neumann U67. > * Room mics: Electrovoice RE20. > * Electric guitar: Shure SM57 right on speaker cone. > * Piano: 2x AKG C12 mics, about 12 inches from the strings. > * Trumpet and trombone: Coles ribbon. > * Tenor sax: Neumann U67. > * Baritone sax: Neumann FET47.

Shure endorsed O.A.R.'s Chris Culos uses Shure's Beta SM57 to mic his snare, according to Shure's artist page.

Shure endorsed O.A.R.'s Marc Roberge uses Shure's Beta SM57 for bgv, according to Shure's artist page.

Visible miking Cheng's Fender '65 Twin Reverb in the second slide of this post from the official David Boring Instagram page.

Used for Donald Fagen's *Morph the Cat*, as stated by mix engineer Elliott Scheiner in this August 2006 *Sound on Sound* interview. > According to Elliott Scheiner, the following mics were used on the Morph The Cat recording sessions. > * Kick drum: AKG D112. > * Snare: SM57 (only on top). >* Hi-hat: Neumann KM81 or 84. > * Toms: Audio-Technica ATM25. > * Overheads: Neumann U67. > * Room mics: Electrovoice RE20. > * Electric guitar: Shure SM57 right on speaker cone. > * Piano: 2x AKG C12 mics, about 12 inches from the strings. > * Trumpet and trombone: Coles ribbon. > * Tenor sax: Neumann U67. > * Baritone sax: Neumann FET47.

Used for Donald Fagen's *Morph the Cat*, as stated by mix engineer Elliott Scheiner in this August 2006 *Sound on Sound* interview. > According to Elliott Scheiner, the following mics were used on the *Morph The Cat* recording sessions. > * Kick drum: AKG D112. > * Snare: SM57 (only on top). >* Hi-hat: Neumann KM81 or 84. > * Toms: Audio-Technica ATM25. > * Overheads: Neumann U67. > * Room mics: Electrovoice RE20. > * Electric guitar: Shure SM57 right on speaker cone. > * Piano: 2x AKG C12 mics, about 12 inches from the strings. > * Trumpet and trombone: Coles ribbon. > * Tenor sax: Neumann U67. > * Baritone sax: Neumann FET47.

Used live for saxophone, as is visible in this photo.

Visible in this photo.

According to Shure's artist page, Cheap Trick uses Shure's SM57 microphone for their guitar iso box.

Used for the guitar on *Shattered*, as mentioned producer and engineer Wayne Gordon in this August 28, 2014 *Electronic Musician* article, > Gordon’s mic choices were fairly basic, but he played with placement on Post’s drums to get different sounds. B3/Leslie went through the million-dollar mic or a Røde Classic, and guitars were taken with a 57. Those cool vintage sounds, the engineer points out, really come from the players and their rigs.

Used for the snare drum on Donald Fagen's *Morph the Cat*, as stated by mix engineer Elliott Scheiner in this August 2006 *Sound on Sound* interview. > According to Elliott Scheiner, the following mics were used on the Morph The Cat recording sessions. > * Kick drum: AKG D112. > * Snare: SM57 (only on top). >* Hi-hat: Neumann KM81 or 84. > * Toms: Audio-Technica ATM25. > * Overheads: Neumann U67. > * Room mics: Electrovoice RE20. > * Electric guitar: Shure SM57 right on speaker cone. > * Piano: 2x AKG C12 mics, about 12 inches from the strings. > * Trumpet and trombone: Coles ribbon. > * Tenor sax: Neumann U67. > * Baritone sax: Neumann FET47. It was also used for the snare drum on *Toto XIV*, as mentioned by producer CJ Vanston in [this March 5, 2015 *Mix Online* article](https://www.mixonline.com/recording/simple-genius-toto-xiv-423799). > On the kick drum he placed a Sennheiser 421 and a Yamaha subwoofer, and on the snare drum a Shure 57 with another Shure 57 underneath. On the hi-hat he switched between a Neumann KM 84 and Shure SM81. > > “For overheads I used a pair of AKG C12As,” Petocz says. “Tom mic’s were 421s and for room mics I had a 47 mono room mic very close to the drums, halfway between the kick and the snare. Then for the more traditional room mic drum sound, I used a pair of U 67 Neumanns and occasionally a C-24 from the back, just sparingly. They all went through the beautiful vintage 8068 Neve console, the best sounding Neve in town. And some compression on the snare when it needed it, but only slightly. Then what I did is go direct out when I could instead of busing it, just for that added purity.”

Seen miking Bogios' cymbal in this Instagram post.

A Shure SM 57 was used on Richard Goddeau’s snare drum to capture the sound of his Pearl Custom Masters Series set on “Circles”. Richard Goddeau only appears on 1 song on “the black and white album”(2017). However an SM 57 was also used on his snare drum on “Back Up Again” and “Brand New Day” tracks 1 and 7 on Positive Mental Trip’s 1st professional studio album “Change Your Mind”(2012)

Used for vocal demos for *I'm a Harmony*, as is visible in this December 28, 2014 Instagram post.

Visible in the background of this photo of Tofani, miking his Fender Hot Rod Deluxe.

For recording I use a Stagg shotgun mic and an SM57 for vocals and acoustic instruments, use Garage Band as a means of recording clean takes, before putting the track together in FL Studio 9.